Karen says:

One of the major themes I want to explore in the Godspeaker trilogy is the use and abuse of power.

In book one, Empress, with Hekat you’ve got a woman whose childhood experiences of powerlessness drive her to extraordinary abuses, once she has power to wield. But in book two, The Riven Kingdom, much of the action shifts to a new location and we meet another young woman, Rhian, who was born into power … and then learns, through personal tragedy, how much of an illusion that power really was.

Then the question becomes: how far will she go to get it back? What lines will she cross? Does all power corrupt, or is it possible to wield it for the greater good and remain untouched by brutality, or evil? And what happens when she realises that perhaps the only way to save her kingdom is to fight fire with fire, and become as ruthless as the enemy she’s trying to defeat?

These are the questions I was wrestling with, writing The Riven Kingdom – and I hope the answers I came up with will keep readers entertained.

The Riven Kingdom, part two of Karen Miller‘s Godspeaker trilogy, has just been published in the UK and was published by Orbit in the US at the beginning of September. Part one, Empress is also available from Orbit in both the UK and US. The conclusion of the series, Hammer of God will be published in January 2009.

You can find out more about Karen Miller and her work at www.karenmiller.net and read her blog at karenmiller.livejournal.com.

K.J.says:

Most everything I write starts with a physical object, a thing I hold in my hand. Colours In The Steel began nearly forty years ago with a pitchfork. It was very old, handmade by some backwoods blacksmith, and I used it to help my father carry the hay from the orchard out back of the house. As I walked along with it on my shoulder, I saw my shadow and imagined it was a soldier; and once I’d called that soldier into existence, I felt under an obligation to him to provide him with a story. Thirty-odd years later, in a foul mood, I started writing it down. The rest, as they say, is bibliography.

The Engineer trilogy started with a Bridgeport universal milling machine, a seventy-year-old miracle of engineering with which a competent machinist could make anything from an earring-back to a battleship. Its owner, who was teaching me to use it, spoke a strange language, where the words seemed familiar but had new and radically different meanings.

To him, ‘tolerance’ wasn’t an abstract. You could stick a definite article in front of it, or make it plural. A tolerance to him was the degree to which you were allowed to deviate from an unattainable ideal, and it was quantified in ten-thousandths of an inch. One ten-thousandth this side of the line was OK; the other side, and the thing you’ve been working on for two days straight turns into scrap and goes in the trash. It’s not often you get three complete books handed to you on a plate like that. All I had to do was go away and shuffle the words around.

The Company started with the flying jacket my father brought back from the War. It spoke for itself. I just hope I was paying attention.

The Escapement, part three of K.J. Parker‘s Engineer trilogy, has just been published by Orbit in the UK in paperback and is also available in large paperback from Orbit in the US. Together with the first two parts of the series – Devices and Desires [UK | US] and Evil for Evil [UK | US], it tells the story of Ziiani Vaatzes, Engineer, and a whole lot more…

K.J.’s new novel, The Company tells the story of a group of war veterans trying to come to terms with peacetime (although of course, as with any of K.J.’s books, you can never assume that there’s just the one level of meaning in play). The Company will be published early next month by Orbit in both the UK and US.